A Quote by Ray Fisher
Imagining things are there that are not really there, with the green screen, is very much like theatre, when you're looking at the fourth wall.
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In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.
For 'tis green, green, green, where the ruined towers are gray, And it's green, green, green, all the happy night and day; Green of leaf and green of sod, green of ivy on the wall, And the blessed Irish shamrock with the fairest green of all.
Green screen, you know, it's been interesting, it's my first time to ever work with green screen technology, and it's, sometimes it can be really boring because you're like wow, I've got to really imagine all of this stuff around me. But it's low maintenance, which is nice, um, and it's not as hard as I thought it would be, so.
Regarding green screen, green screen is really like doing some stage work. You have to make believe that there is a window, make believe that something is there that is really not there and convince the audience. It's part of acting.
A lot of the times, reality shows don't like people to break the fourth wall. With a docu-series or a documentary, everyone breaks the fourth wall because you're talking to the camera quite a bit.
When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.
Having emotional connections to things that don't really exist, like looking at a green ball and really loving that green ball, and being sad whether it's around or not. Stuff like that. I've never done acting at this level before so it was a huge challenge for me. It was a hurdle to overcome just to survive.
At times, there are misunderstandings [during shooting]. Especially with green screen and not really knowing what it is that you're looking at, you really depend on the director to create that world for you.
When it comes to acting on green screen, it doesn't really make all that much of a difference to me because how you interact with your environment or characters is always dictated by your imagination. So when you're acting against a green screen, you have more of an opportunity to create your own world. So what was magical throughout this process was watching this movie come to life with the 3D.
I think I'd rather do [acting] in the real place. It requires different things, working with green screen, but its an imaginative exercise anyway, the whole business of acting, so it just gives you a bit more to feed the imagination. Unless it's really silly, just two of you stuck in a space with nothing but green screen that's got to be pretty difficult.
I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little - like being in a Broadway play and doing it over and over and forgetting your line halfway through.
I love film and TV, the medium of them, just because it's such a smaller screen. It's much more precise. Ideally, I'd like to do maybe a film a year of some sort and use that to work more in the theatre because theatre really is my first love.
Acting with a green screen has been physically challenging. I look at the green screen and then I'll look somewhere else and everything looks red. It's a bizarre thing where green has an effect on my vision, but it's fun.
I don't like being called a celebrity. So much so that I find it very uncomfortable looking at myself on the screen.
Most of my work is okay to look at on a TV screen or a flat screen, but this is actually much better in a theatre.
'Looking For Alaska' by John Green is a very great book. I feel like every teenage girl says John Green's 'Fault In Our Stars,' but 'Looking For Alaska' is better.
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